SCANDINAVIAN MUSIC. 618 SCANDINAVIAN MYTHOLOGY. rlivlliiiw :iiicl niclnilK' ilivi'lltiun. S|)LH'i:il iiu'iltion liiil>l lie iniiile of llu' j;ic:U scvoiitoi'iitlii'i.iituiy iiiii>l<'r. Iliiiii^li l>.v l)irtli. thiiUKli he livi<l <liii-lly in liiiiiimiy, Diolrich Buxtoliiule ( 1(1.!7-1707 ). He is oiip iif those who created a distiiutly in- utruineiilal style for the oifjan ami iiialcrially advanced not "only the style of oif;aii-playins. hut also the instrumental forms of the toccata and fufjiie. SwKDKN. Durinjr the sixteentli century (Jus- tavus Vasa attached many noted forcij;n artists to his Court, and thus in Sweden also the cultiva- tion of music at lirst remained in the hands of forei^'uers. The first composer of note was a Ger- man, Iliiirner ( 17.59- 183.'!), who settled in Stock- holm in 1780. In his operas he is a mere imi- tator of Gluek, hut iu his Swedish songs lie struck a distinct national tone. He also did much for the cause of Swedish music l>y his ar- ran;;emeiits and jmhlication of old Swedish na- tional folk-sonp, and the restoration of the melndii's in the Svensk chorall)ok." The first native-horn ccunposer of significance was Franz Berwald ( 17!UilS(i8) , who wrote some good chandier-music and six operas, and attracted the attention of 1-iszt and Biilow. Of more impor- tance is l,indl>hid (1801-78), the teacher of .lenny l.ind. He wrots little besides songs, which, however, are remarkal)le, especially in their skill- ful use of local color. Hiillstriim ( 1821! — ) is hi.L'lily esteemeil by his com])atriots for his operas, which are characteristically Swedish, Siidermann (18.32-7(i) was a musician of rare talent, a master of orchestral writing, and be- came well known outside of Sweden for his large works for chorus and orchestra. His har- mony is refined and individual, his melodic in- vention original. A composer much esteemed for his symphonies, overtures, and clmniber-nuisic is Norman (18.31-85). The operas of Hallen (1840 — ) are strongly influenced by Wagner, yet they also preserve Swedish charaeteristios. Sjiigren (18.5,'? — ) has written songs and beauti- ful compositions for the piano. He enjoys the reputation of being Sweden's greatest melodist. Stcnliammar (1870 — ) attracted considerable at- tention thnaigh four concerts for the piano. His other works include choral ballads, overtures, and three siring quartets. NoRW.VY. The way for national Norwegian composers was prepared by Lindemann 1 1812- 87), who collected and published more than .500 folk-songs. The first native composer is Kjerulf (181.5-C8). The number of his works is small, but both his songs and his instrumental music show, national characteristics. Svendson ( 1840 — ) has an international reputation. His works are Ihoroughly individual and often betray the com- poser's nationality by a certain harshness, al- tlanigh in his orchestral works he follows the nco-tierman school of progi-amnie music, as be- comes evident from the titles of some composi- tions: prelude to Bjornson's Sigiiard Slembe, overture to Romeo and Juliet, legend for orches- tra Zarahaydr, ]'orthcrn CarnevtEl. In his two symphonies op. 4 and 1.5 he uses the form estab- lished by the classic masters, but does not hesi- tate to introduce national melodies. Norwegian music sufVereil a serious loss through the prema- ture death of the talented Nordraak (1842-60). -^t a very early age he was attracted by the peculiarities of Norwegian folk-music. Shortly before his death he became acquainted with (iricg (<i.v.), who at that time was under the inlluence of Hartmann and (jade, and Nor- draak soon aroused in his new friend the sano enthusiasm which he himself felt for Norwegian melodies. The works of Sinding ( 1850 — ) have at- tracted universal attention. He docs not confine himself to the exclusive cultivation of national traits, but employs the larger forms (symphony, chamber-music, concertos). If he is somewhat lacking in the refinement and delicacy of (irieg, he exhibits greater power in delineating passion. Consult: ^'on Ravn, "Skandinavische Musik," in supplement to Jlendel's Lcxikon (Leipzig, 1882) ; 11. Kiemann, (Icschichte der Musik seit Beethoven (Leipzig, 1001) ; Soubise, Histoire de la musique ("Ktats Scandinaves) (Paris, lliol). SCANDINAVIAN and TEUTONIC MY- THOLOGY. The religion of the Germanic ])eo- plcs. Teutonic mythology is so largely based u])on Scandinavian sources as to render the two terms almost synonymous. The number of nature gods, with marked, strong individuality, is small ; the proportion of spirits and demons, elves, dwarfs, and giants, valkyries, swan-maidens, and norns, unusually large. Most of these creations are mere folk-lore or poetic personifications, rather than real mythic figures, founded u])on a definite fact in outside nature, or some permanent element in the inner consciousness of man. The final conversion of the Northern Teutons to Christianity took place about a.d. 1000. The native sources of mythology are in general not earlier than that date, many of them much later. The Elda- or Poetic Edda (see EuuA) dales from the tenth centurv'; the Yoimyer or Prone Edda and the Sagas are about two centuries later. Both these dates make it likely, first, that the native ideas on the subject are present in an advanced and tangled form, considerably re- moved from the mythic roots that started them ; secondly, that there is a strong admixture of Christian, and perhaps even classical ideas. There are indeed foreign influences in Scandi- navian mytholog;^', but, despite this non-Teutonic element, the mythology is essentiall)' national in s])irit and character. The Scandinavian gods are anthropomorphic, like the Greek gods, but not as plastic as they. Their personality is rugged, even if they fall short both in the graceful fancy and the tin- islied mastery of the Greek deities. In the main, however, the gods portray men: Odin (q.v. ) is a powerful, shrewd, not unkindly old man ; Loki is ill-tempered, fickle, deceitful, and calum- niating; Balder is wondrously fair, beloved of all : Thor performs incredible deeds, but only when he has his hammer Mjollnir; Frigg or Frigga is Odin's housewife, the mother of Balder (q.v.). The gods are human in their needs and infirmities; they eat and drink — solemnly and copiously, as Teuton gods should. Odin has lost an eye, having pledged it for a draught from the fountain of Mimir, the source of all wisdom: Tyr has lost a hand ; Balder perishes. Their character, their emotions, and such morality as they claim are entirely human. They are kind or ferocious, shrewd or foolish. Frigg. Odin's wife, is the highest representation of heavenly virtue; she is the severe, rather shrewish guar- dian of domestic virtue and sexual morality. The absence of trulv lofty traits, cesthetical or
